bureau13

Love this idea. I think the point about centering too much on a single resto project being too specific and like some current TV shows is true, but touching in on a few well-known (at least to us here) examples could be cool.

Adk46

That does it - from now on I'm adopting the U.K. nickname, Frogeye.

I think mine should make a cameo appearance in the piece. Ah, yes - the narrator starts talking about how the 928 was sometimes derided as having a certain resemblance to a - sniff - less capable car, as the video shows the headlights of a 928 going up. Many will start thinking of that Car Which Shall Not Be Named, but the shot turns towards a Frogeye Sprite instead.

Imo000

How about making a documentary on that $hitbox that went to France? The seller sure looks like a maniac that would make for good TV.

Don Carter

That would be me. That DVD also included Paul Campaign giving a speech on the leather work he does. Just watched it again since it's been a while. Could put it up on YT if anyone is interested.

I have quite a bit of HD 928 video going way back. The trick is finding time to go through it and figuring out how to transfer it to whoever is doing the editing. 16GB flash drives are pretty cheap now, so maybe a flash drive in the mail would work. This sounds like a great idea, happy to help if I can.

Adk46

Don,

We'll be in touch! Don't go through your stuff yet - I know how arduous that can be. I hope we'll be methodical and work from a script/storyboard/outline that will tell us what we need.

I've just gotten some 4K-capable 64GB micro SD cards for my new gadgets: $19. I have a 340MB IBM MicroDrive in my gadget museum that cost $400 in 2000. This sort of thing tells me that we'd better work in 4K as much as possible.

Let's all keep thinking about it. Are there any specific examples to view? On cars of a similar nature?

docmirror

Sounds like a fun idea. Hope it gets off the ground. I've been working with the IT staff from Warner Bros studios for about 9 years total, and here's a few things I learned. 1. For most director/editor combos, only about 5-10% of the material shot ever makes it all the way through to the finished product. Of course, they have budgets that would rival a small African nation - but still, it's a lot of editing and cutting. 2. Indoor or studio lighting is a big challenge with the consumer grade cameras avail. They are setup for outdoor sunny lighting, and taken indoor the chroma is hard to get right.

Now my personal pet peeve, and feel free to ignore this of course, as everyone else does. It sure seems that a narrative or documentary about a subject tends to fall on the personalities of those making it, or said another way, about 80% of the camera time that makes it through editing is of someone's face, body, expression and about 15% of the camera time is actually spent on the titled subject. Chasing Classic Cars is always guilty of this, no offense to Wayne, he's a good looking guy, but the director(s) seem to always tell the camera guy to have a shot of the personality constantly on, and then we get a wink of the car sandwiched in, then back to the person, who's chatting with the buyer/seller/restorer about 'I did this, I did that, it came out like this, blah, blah, blah' without ever showing the details that they are talking about! Go watch 'On Any Sunday' which is prolly the most famous, and best documentary about motorcycles ever done, and note the way it's produced. Follow that with Endless Summer(surfing) and you'll get the idea.

Good luck, have fun, exclude me. I have the perfect face for radio.

YMMV, contents have settled, pro driver closed course, and may cause **** leakage.

Adk46

I was just contemplating how to do the interviews. I've done the standard sort of interview setup in my studio - I have the lighting equipment, a Nikon D-800, and ... no, not quite the right sound equipment. There is a need to do these well, with some consistency. Or at least, that's the norm.

Logistically, something workable is do all interviews at, say, three of our gatherings, and hope to catch all the notables. Do we have three guys that can do it?

There are alternatives: do all interviews while the subject is driving a 928, with a couple of Go-Pros. Mix it up in other ways. Some notables should be shot in their natural environments, at least a little.

M. Requin

IM(never)HO, this is spot on. Interviews should be a tiny part of the whole. Who likes talking heads? Not since "I've Got a Secret"...

docmirror

I got a chuckle after writing this, the very next post was all chat about the 'interviews'. Oh well, another face-fest.

Don Carter

I dug up the source video for the OCIC 2009 DVD and rendered a new HD version and uploaded to YT. I'll post the link on the 928 video thread as well.

It was originally shot in 720P using one of the first Sony HD camcorders but looks pretty decent. Technology is moving ridiculously fast.... My cell phone (MS Lumia 950) can now shoot 4k video!

Lots of familiar faces and many of the major players in the 928 community were there. I should have done some interviews. Sterling's grand entrance is at 4:36. Good times...

zaevor2000

Can't help thinking opening up with some cars with some beautiful eye candy (beautiful girls in bikinis) is a GREAT way to get the viewer's interest and undivided attention.


A formula that has worked quite well for the automotive industry


I know it's not PC, but someone had to say it...


Frank

Imo000

Since this is a documentary, I'm not sure having local strippers plastered over the cars is the winning format.

bureau13

Well, after we do the documentary, can we do one with strippers?

(For the record...the girl down below is not a stripper. I swear )

Imo000

Her implants are the stripper kind!

zaevor2000

That's fine...you can plaster the pretty strippers all over me instead!

"I'm taking one for the team!!!"

See the sacrifice I'm willing to make?